Happy New Year, Colin Burstead (2018)

After two pictures that fused deliberately acerbic British filmmaking with Hollywood stardom, Ben Wheatley returns to his roots with Happy New Year, Colin Burstead.

You only have to consider what the original working title was for Wheatley’s film: ‘Colin, You Anus’. When it was announced that Wheatley was producing a brand new picture to be shot over eleven days in a stately home, critics wondered if the director was exploring Shakespeare or the historical period he had so impressed viewers by with A Field in England. Rather than continuing the one-two punch of J G. Ballard adaptation High Rise or the pulpy, Tarantino-baiting Free Fire, Colin sees a return for Wheatley back to stripped down, near documentarian theatrics, the likes of which we haven’t seen him tap for some years.

Where his previous two pictures saw Wheatley rope in Hollywood stars such as Tom Hiddleston, Armie Hammer or Brie Larson, the director here once again recruits the services of Neil Maskell, the lead in Wheatley’s dark, uncompromising and powerfully weird Kill List. Maskell is a prolific British character actor who straddles both TV and cinema but a traditional leading man he is not, and that makes him perfect for the eponymous Colin Burstead. Wheatley’s film is intentionally short, sharp, darkly acerbic and filmed with even more of a televisual, tele-play lens than even Kill List was. This is a director cutting loose and having fun.

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